Also, Richard thinks that the Smithsonian and National Portrait Gallery are striving to redefine “spineless cowards” in their role in the museum word. Great job guys, I look forward to seeing what a Fox News curated museum looks like!

Please be sure to take a moment and e-mail the following people your thoughts on their caving in to political censorship.

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This week Anthony Elms and Duncan talk to Marc Fischer about the Public Collectors project and other things.

Then Marc LeBlanc and Brian Andrews talk about how Marc is turning Japanese, he thinks he’s turning Japanese, he really thinks so…

The intro discusses how Philip von Zweck is a thug.

Anthony, please, dear God, talk in to the mic, seriously.

The following blurbs were shamelessly stolen from PVZ’s site:

Marc Fischer is 1/3 of the group Temporary Services, 1/11th of Mess Hall- an experimental cultural center in Roger’s Park (where he co-organizes the Hardcore Histories series), and an artist who curated the prison-themed exhibition “Captive Audience” at Gallery 400 earlier this year. In addition to believing that vinyl remains the superior format for the appreciation of recorded music, Fischer still refuses to own a fucking cell phone.

Anthony Elms overcame his youth as just another punk in Michigan to become the assistant director of Gallery 400, the editor of WhiteWalls, and a writer whose works have appeared in like every freakin’ magazine ever (except Artforum, whatever), plus in some exhibition catalogs for stuff that didn’t happen at VONZWECK, but was still ok. He’s pimped himself out at times; and participated in some panel discussions, but I think the panel discussion is always a bad idea, always. Anthony agrees.

On Public Collectors:
VONZWECK- as an entity, doesn’t care about art. You know it, you always have. But VONZWECK likes administration, and… stuff. Especially other people’s stuff! So does Marc Fischer. He likes stuff so much he’s started a whole new initiative to get to see it, and, being the unselfish soul that he is, to share it.

It’s called Public Collectors and it is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks people that have had the luxury to amass, organize, and inventory these materials, to help reverse this lack by making their collections public. It’s voluntary and it’s free. Not about selling, or buying and not restricted to art. It’s about getting to see something you might not have access to otherwise and exchanges of knowledge.

For this – the kickoff, the ribbon cutting, Marc will be sharing one of his collections: records. That’s right actual records, long players, vinyl, what have you. Many will be on display; many more will be brought to the space for listening on request.

But the idea isn’t just for you to see Marc’s stuff, it’s for you to share your collection(s) and view other peoples’. Other collections are online and many more will be added soon at www.publiccollectors.org.Read more

LONDON. Frank Gallipoli, a commodities trader based in New Canaan, Connecticut, has bought several major pieces from Charles Saatchi’s 1997 “Sensation” exhibition. His purchases include Marcus Harvey’s 1995 portrait of Myra Hindley, Gavin Turk’s 1993 self portrait as Sid Vicious, Pop, and works by Chris Ofili, Jake and Dinos Chapman, Gary Hume, Jenny Saville and Simon Patterson. Mr Gallipoli is one of at least five US collectors who have bought art originally shown in “Sensation”.

As the Royal Academy in London inaugurates “USA Today”, a new show of work by American artists drawn from the collection of Charles Saatchi, we reveal where many of the works originally exhibited in “Sensation” are today.

Frank Gallipoli, a commodities trader based in Connecticut,
is the owner of Marcus Harvey’s 1995 portrait
of serial killer Myra Hindley